Slavet and the Garrick Players

Bernstein wasted no time in locating a successor for Owen Phillips.  Early in the year, he announced that Gerald Slavet would be Wayside’s new Artistic Director and that he, along with his theatre ensemble, The Garrick Players, would be in residence for the 1968 summer season. Lickson writes that “The Garrick Players greatest accomplishment in Washington was said to be that they provided theatre of all types, could be a mass art form and could communicate to all ages and all types, providing it is first and foremost entertaining and enjoyable.”  The troupe had established themselves as being the first to perform “in elementary schools and creating students’ love of Chekov, Becket and Albee” (Lickson.  The Lure and Lore ….).   

Slavet had organized the group in December of 1965 naming them The Garrick Players in honor of the 18th century actor, David Garrick, who would meet with members of the audience following performances.  Giving the ensemble this name, reflected Slavet’s wish to engage audience reactions after attending a show.

The five professional actors perfomed a variety of literature, ranging from serious drama to slap-stick comedy.  One title from their 1967 season, an original musical revue, was advertised, “Have you been laughing lately?  If not, attend Garrick’s Follies.” 

In a very short period of time, the Garrick players had quickly established a reputation for,

performing experimental and cutting-edge works [that] was well established in DC.
In Slavet’s words, The Garrick Players were a group of close-knit actors, bent on perfecting their art, [that] grew into a company of recognized professional stature. 
We brought some plays to Washington that might never have been seen on the professional stage in the city if we had not existed.  Through our pioneering in-
school programs we introduced countless young Washingtonians to a world they
never knew existed.  We developed acting talent that is sure to go on in the world
of theater .… We introduced interracial casting on a permanent, company basis long before it was fashionable or lucrative (Slavet. “Garrick Players Took ….” TWP. 18 Aug. 1968).  

In spite of their reputation and loyal DC following, the Garrick Players suddenly lost their performance space that was located in the basement of Grace Episcopal Church in the Georgetown area of Washington, DC.  The terms of agreement between the Garrick Players and the Church when the company began using this space are not known, but something must have taken place that forced the church to make a decision to discontinue this arrangement.  Whether it was an unsuitable performance or inappropriate conduct by the Players is not known.  But, the Senior Warden of the church sent a letter stating that the Vestry had determined that the “activities of the Garrick Players, Inc. are not consistent with the purpose of Grace Church’s ministry” and that the “Memorandum of Understanding between the two organizations would be terminated, effective March 5, 1968” (Letter. Senior Warden.  3 Feb. 1968).  Slavet and his theatrical troupe were now without a home.

In summing up this split, one source states,

For the past two years, the Garrick Players performed at Grace Church in
Georgetown.  They were evicted by the church this spring and were invited
to become the resident company at Wayside, an inn and resort complex owned
by Washington financier Leo M. Bernstein.  The theatre is located 15 miles south
of Winchester, Va., near the Middletown exit of Interstate Rte. 81 (“Garrick and
Reston ….” TWP. 9 June 1968). 

The article concludes with the titles of the six plays the Garrick Players were slated to perform for Wayside’s upcoming summer season.   

It is unclear whether Bernstein knew of Slavet and the Garrick Players, or if he had learned of the split between the two organizations through his business connections.  However, it is quite clear that Bernstein and Slavet quickly came to an agreement that gave Wayside a new artistic director and the Garrick Players a new performance space.  An official announcement of this agreement states,

The Garrick Players will open its summer season Tuesday at the Wayside Theatre, Middletown, Va., with a production of ‘The Private Ear’ and ‘The Public Eye’ by Peter Shaffer.  The two one-act plays by James D. Waring are the first of six productions to
be presented this summer (“Garrick and Reston ….” TWP. 9 June 1968). 

The Garrick Players had been rescued!  But the actor’s new home, a small, town in rural northern Virginia, was a stark change from the sophisticated, metropolitan area of Georgetown.  Slavet explained, “The Washington financier offered my company a beautiful little theater in Middletown, Virginia, about an hour from the beltway” and they obviously took it! (Slavet. “Garrick Players ….” TWP. 18 August, 1968).  In summing up his plans for Wayside, Slavet proposed in-school programs, a film series, drama and photography workshops, and a longer theatre season.  But, he reflects, “Theater grew out of the masses and if it is to survive, must return to them.  Thus, the greatest challenge is to make theater both creative and self-sustaining wherever it is” (Slavet. TWP. 18 Aug. 1968).  These words by Slavet give an astute observation of theatre’s purpose, regardless of the name of the organization or the era in which it exists.

Despite all the plans for opening the 1968 season, there was an unforeseen delay that affected not only Wayside Theatre, but other area theatres and the nation in general.  The June 8 opening of the summer season was postponed due to the national observance of the death of Senator Robert Kennedy.

But, the Wayside season with Slavet at the helm did get under way. After attending a performance at the new season under Slavet’s leadership, one writer shared her excitement in a lengthy article in which she tells of a meeting of the local press and town mayors who had gathered to hear about the changes at Wayside.  Powell writes,

This is the sixth year for the theatre, but any resemblance to its previous image
is non[-]existent. The theatre is being done over with new lighting design by the
artist from Arena Stage; a new sound system is being installed; there is a new
eating place within the confines of the theatre; and an entirely new staff has taken over. 

She continues with praise for the changes at Wayside that had taken place and particularly in the work of Herb White, who

… has been responsible for the attractive ‘Curtain Call’ Café, which is now
located in what formerly was the Art Gallery at Wayside.  This is an English
tavern-type arrangement with Tudor benches and tavern chairs, all old, and
all seemingly to blend right in with the paneling.  In one area, before a long
walnut bar, there is stained glass paneling with figures that are English, and
around the top of the panels there are handsome antique brass coats of arms. 

Powell promises her readers that she will return to Wayside many times in future to enjoy the ideas of the new director, who comes “from Boston and gives every appearance of the high-bound sophisticate.”  She states that the Garrick group will “form the company at Wayside this season … All are professionals.  All are adept in the plays that reflect what goes on NOW.”  She concludes by quoting from Slavet’s mission for the theatre, which includes the need for an audience, without which no theatre can exist.  He states,

Let us create together. Though we are on a low budget we will still create beauty
within it.  We can attune our youngsters in the schools to viewing the finest theatre
that exists …. Once we get their mind going we [will] find what a fertility exists there (Powell, L. “Excitement of Discovery ….”TDM. 31 May 1968).

Powell concludes by stating that Slavet urges people to come to Middletown and see for themselves the level of theatrical excellence that is being created in this small town.  By doing this, “We can create theatre that is so exciting that people will want to come from every place” (Powell, L. 31 May 1968).

There must have been considerable renovation to the theatre space for the 1968 season.  One writer talks about the investment in technical improvements that, probably are not visible …

to those attending a performance.  Lighting designer William Eggleston, from
Arena Stage in Washington, and sound expert Jerry Greenwald were commissioned
to completely rebuild the lighting and sound facilities.  Technical director Barnett A.
Epstein was hired from the Theatre of the Living Arts in Philadelphia to provide a
strong unity in the staging of every show.

And, to cap off the investment, “the nationally-recognized James D. Waring, director of Olney Theatre … and at Catholic University, was signed to direct the [season’s] first show (Sterago.  “Middletown – The Board ….” TWS. 15 June 1968).

Though the Garrick Players are not mentioned by name in Roger North’s glowing review of The Fantasticks, there are oblique references to the professional quality of the performers under Slavet’s direction.  North prefaces his review by stating that the 1968 season was launched with an “unqualified artistic success … unlike anything we’ve seen in the Shenandoah Valley.”  He alludes to Slavet’s leadership, writing, “it was apparent from the start that a new level of theatrical quality has come to the Winchester area.” Referring to this quality in the performance he attended, North states that the actors perform “with a zest and vitality that is often missing in other theaters.  These professionals are young and full of energy”… and their performance “is obviously the work of professional theater artists, and the effect is dazzling” (North. “ ‘The Fantasticks’ ….” WES. 28 June, 1968).  With these comments of high praise on Slavet’s opening production, one could question the validity of the comments made by reviewers of the plays presented in the earlier years, but that would be inappropriate!!

One can’t help but wonder, if, somewhere during this time, there might have been some additional alterations to the size of the stage.  There are constant referals in the first ten years of Wayside’s existence to the small size of the stage.  One reference to this inadequacy states, “The tiny stage is only 16 feet deep and it has no height to fly sets in or wings to roll them on from.  Dressing rooms are cramped and sets have to be built in a nearby shack and carried over to the theatre.”  Despite these physical limitations, “the 13-week program is impressive as are the various offerings it makes for the community.”  The article acknowledges that, despite “its recent success, Wayside is far from affluent.  Its opening budget this year is an unbelievably low $60,000.  And only by using materials over and over again could the set and elegant costumes in ‘Tartuffe’ have been achieved with the low sum of $275” (Longaker.  “Cinderella Story ….”  RTD. 23 July 1972).

The change made to the theatre’s exterior caught the eye of one visitor:  “… the façade accents the small-town locale but adds a theatrical flair with a soft beige brickwork offsetting the white portico and the Parisian awnings of the Curtain Call Café.” Entering through the main doors of the theatre, the writer observes that,

Inside the lobby a solid red carpet, deep blue walls with bright yellow trim, and
a red-and-white striped ceiling surround the theatre-goer with color. Photographs
of the actors in late-Eighteenth Century style frames line the walls, and the lighting
is indirect, from the top of each wall. The seats have been newly covered and the
new proscenium arch frames the heavy gold curtains (Sterago.  “Middleton – The Broadway ….” TWS. 15 June 1968).

There are many comments about the transformation of the Curtain Call Café including stories of the origin of the Tudor-style paneling and glass lamps that decorated the room.  There is some variation between the description of the space in 1968 and the décor at the time of the theatre’s 2013 closing.  While there are only a few photographs of the earlier appearance of the Café, there are, unfortunately, no definitive records that give complete details of the room’s original appearance after being renovated.

Regardless of what the building looked like in 1968, the credit for the transformation of the entire complex, the theatre space, and the Curtain Call is awarded to Herb White, who had worked closely with Leo Bernstein during the entire renovation process. White and Bernstein were credited as being …

two people of the sort who work with extreme dedication to a dream and who,
all too often, remain in the background of a public organization.  Such a person
is Herbert W. White, whose overall concept of the Wayside Complex is responsible
for so much of what we enjoy here.  It was Herb who restored and staffed the Way-
side Inn, recalling the charm of its origins; it was he who built the Curtain Call into
a connoisseur’s delight with a taste rare in the expensive homes; it was he who pro-vided the colorful interior of the theatre, from the stage to the front door, and the
inviting face combining the traditional and the fun elements of the theatre into a
striking public image (Wayside Playbill, 1968). 

It is interesting to note that during the time that Herb White worked for Mr. Bernstein and was in charge of the restoration of the Inn and the remodeling the Theatre, he was only in his mid-20s!  White would later go into the restaurant business, travel extensively, be involved in many arts projects in DC, and, late in life, would spend most of his time in Montevideo, Uruguay (Capps, K.  “Herb’s World.”  Washington City Paper. 29 June 2007).